PORTKAITS  IN  PHOTOfHiAFflY 


BY  rm  A;n  of 


BY 


0 


PORTRAITS  IN  PHOTOGRAPHY 
BY  THE  AID  OF 


....  BY     . . 


Each  photograph  reproduced  in  this  book  bears  its  own 
copyright  and  must  not  be  infringed  upon. 

COPYRIGHT  189S, 

BY  F.  W.  GUKRIN. 


PREFACE. 


FTKR  frequent  requests  by  many  prominent  members  of 


the  photographic  fraternit}^  for  some  knowledge,  or  a 
treatise  upon  my  method  of  securing  portraits  by  the  aid  of 
flash  light  and  photography,  and  after  some  consideration  as 
to  whether  I  was  capable  of  doing  myself  justice  in  giving 
an  explanation  to  an  investigating  people,  I  have  been 
persuaded  by  my  nearest  friends  and  acquaintances  to  sub- 
mit to  the  members  of  my  profession  this  simple  but  com- 
plete work  upon  the  one  subject,  viz.:  Portraits  by  the  aid 
of  Flash  I^ight.  I  have  endeavored  to  make  my  explana- 
tion brief  and  plain,  in  or.ler  that  their  interpretation 
would  be  thorough. 


Fraternally, 


K.   W.  GUKRIN. 


MR.  F.  W.  GUERIN. 


LOOKING  BACKWARD. 


PART  I. 


Fifteen  years  ago,  if  I  could  have  possessed  the 
knowledge  of  the  correct  methods  of  using  the  flash- 
light in  portrait  photography  that  I  do  to-day,  I  could 
have  made  an  independent  fortune  alone  by  the  aid 
it  would  have  given  me.  About  that  time  I  first  be- 
gan to  make  large  photographs  direct,  to  be  sold  by 
the  different  art  and  picture  dealers  of  America.  My 
best  friend  and  helper  in  those  days  was  a  very  large 
Hermatage  portrait  lens,  which  allowed  me  to  make 
(what  I  considered  then)  very  short  exposures  ;  for 
instance,  with  the  largest  opening,  an  exposure  of 
from  three  to  four  seconds  was  about  the  shortest 
time  I  could  use  and  feel  safe  of  good  result,  photo- 
graphically and  otherwise.  Then,  from  the  fact  that 
the  lens  had  been  worked  at  full  opening,  the  diffu- 
sion was  too  great  in  the  majority  of  instances.  A 
great  many  photographers  cling  to  the  idea,  and  also 
TRY  to  make  themselves  believe  that  great  diffusion  is 
most  artistic,  and  some  fkw  will  even  insist  that  the 
largest  portion  of  the  picture  must  be  out  of  focus.  If 
such  is  true  art,  all  well  and  good,  but  I  prefer  not  to 
be  quite  so  narrow.  For  landscapes,  at  dusk  or  dawn, 
for  views  at  great  distances,  storm  scenes,  interior 
supposed  to  be  faintly  lighted,  and  a  few  other  condi- 
tions that  exist  under  certain  circumstances,  a  certain 


amount  of  diffusion  is  necessary  to  bring  out  the  true 
meaning  of  the  picture,  but  in  the  majority  of  in- 
stances I  work  to  secure  a  general  sharpness  to  my 
pictures  (not  a  wireness),  but  well-cut  drawing  with 
as  much  ease  of  gradation  as  possible.  Many  large 
plates  and  much  time  was  wavSted  with  the  old  method 
of  daylight  and  time  exposures.  And  then  many  of 
the  best  pictures  I  made  were  lacking  in  action,  a 
feature  most  essential  in  attracting  interest  for  the 
picture.  My  brain  was  inventive,  but  many  of  my 
best  ideas  had  but  short  lives  on  account  of  the  great 
handicap  that  was  placed  upon  me  in  the  way  of  time 
exposures.  When  the  flashlight  machine  finst  made 
its  appearance  I  was  among  the  foremost  to  investi- 
gate its  claims.  And  among  the  many  examples  of 
photographs  made  with  the  different  machines  and 
powders,  I  found  very  few,  if  any,  that  were  what  I 
considered  really  good,  or  had  the  appearance  of  be- 
ing made  with  daylight ;  .some  had  the  appearance  of 
being  made  out  of  doors  in  a  world  of  light,  others 
the  appearance  of  being  lighted  through  a  scuttle 
hole,  and  many  looked  weak  and  muddy,  with  dirty 
faces  and  large  staring  eyes,  as  though  the  subjects 
were  gazing  full  into  the  face  of  a  bull's-eye  lantern. 
These  effects  I  could  not  tolerate,  consequently  I  took 
very  little  part  in  flashlight  photography  until  I  made 
many  experiments  in  my  spare  moments.  I  finally 
came  to  the  conclusion  that  to  succeed  at  all  I  must 
follow  the  same  method  in  lighting  by  the  aid  of 
flashlight  as  I  had  previously  done  in  my  efforts  with 
daylight.  To  fathom  this  theory  and  reach  its  ends 
I  began  with  new  trials  and  experiments.  As  to  how 
well  I  have  succeeded,  I  leave  the  proofs  and  all 


other  evideuce  in  the  hands  of  the  photographic  fra- 
ternity, and  abide  by  their  verdict.  I  will  try  and 
give  my  instructions  as  how  to  use  the  flashlight  to 
the  best  advantage,  in  as  few  words  as  possible, 
and  will  depend  upon  the  illustration  and  my  refer- 
ence to  them  to  enlighten  the  minds  of  the  readers  of 
this  work,  all  reference  and  instructions  are  placed  in 
the  form  of  short  7iotes  in  order  to  be  thoroughly  inde- 
pendent of  each  other  and  consequently  not  confusing. 
The  illustrations  numbered  icq,  ioi,  102,  103,  104 
and  105  are  from  8  x  10  plates  of  photographs  made 
at  the  time  of  exposure  of  some  of  the  larger  photos. 
They  will  surely  answer  the  purpose  for  which  they 
were  intended,  i.  e.  to  show  the  position  of  subject, 
light,  camera,  reflector,  etc.,  at  the  time  of  sitting. 

Inasmuch  as  the  reproductions  herein  are  self- 
explanatory  to  an  experienced  photographic  eye,  I 
will  endeavor  to  go  into  details  as  to  how  each  picture 
was  made,  giving  full  instructions  in  regard  to  a  few, 
and  simply  referring  to  the  others. 


FLASH  LIGHT  PORTRAITS. 


9 


No.  r.  KISS  ME  " 

Was  made  with  the  flash-lamp  five  feet  above  and 
directly  back  of  the  subject;  one  end  of  the  light 
came  flush  against  the  top  of  background;  the  re- 
flector was  used  in  the  ordinary  way,  six  grains  of 
powder  being  used  in  each  of  the  thirty-six  cups  of 
the  flash-machine  (mention  of  diaphragm,  lenses, 
developer  and  plate  on  another  page).  The  day 
that  this  negative  was  made  was  very  sultry,  and  I 
feel  justified  in  making  the  statement  that  it  would 
be  impossible  under  the  same  circumstances  to  secure 
such  results  without  the  aid  of  the  flash-light. 


lO 


FlvASH  LIGHT  PORTRAITS. 


No.  2.  AIvONE  AT  LAST  " 

Was  made  same  as  No.  i,  with  the  light  above 
subject  about  eight  feet,  slightly  in  the  rear,  and 
the  end  of  light  touching  background.  The  cut  No. 
I02,  on  page  44,  was  taken  at  the  time  of  exposure 
and  illustrates  how  this  negative  was  made. 


FLASH  LIGHT  PORTRAITS.  ii 


No.  3.  ''THE  DIZZY  WHIRL" 

I  consider  one  of  my  best  productions  and  was  made  as 
follows:  The  background  was  laid  over  on  its  side,  the  sub- 
ject was  reclining  on  a  board  held  in  position  by  an  iron  rod 
which  protruded  through  the  background;  the  board  was  sus- 
pended about  four  feet  from  the  floor,  the  subject  laying  at 
full  length  upon  the  board  ;  one  side  of  her  hair  and  dress 
would  naturally  hang  down,  the  other  side  of  dress  being 
held  up  by  subject.  The  flash  in  this  instance  being  about 
four  feet  from  the  top  of  the  head  and  raised  a  little  above 
the  figure,  thereby  giving  the  effect  when  in  a  perpendicular 
position  as  herein  shown,  of  the  average  broad  lighting; 
exposure,  six  grains  of  powder  to  each  of  the  thirty-six  cups. 


FIvASH  I.IGHT  PORTRAITS. 


No.  4.  ''THE  QUAKER" 

Was  produced  same  as  No.  3,  the  difference  being 
that  the  subject  was  laying  on  her  back  on  the  board, 
which  was  suspended  four  feet  from  the  floor,  her 
knees  extending  upward  ;  the  dress,  being  weighted, 
drops  down  below  the  subject,  thereby  pulling  tightly 
around  and  over  the  knees ;  the  wheel  was  suspended 
by  wires  from  the  ceiling.  After  the  negative  had  been 
developed  and  dried,  the  spokes  of  the  wheel  were 
removed  by  the  retoucher,  thus  giving  the  appear- 
ance of  very  rapid  movement.  The  flash  machine 
was  used  exactly  the  same  as  for  picture  No.  3. 


FLASH  LIGHT  PORTRAITS.  13 


No.  5.  "TKMPKST" 

For  this  portrait  the  subject  was  lying  on  her  left 
side  on  a  small  couch  in  this  position.  The  hair  natur- 
ally drops  down,  giving  the  effect  of  a  strong  breeze. 
The  flash  machine  was  placed  just  a  little  higher 
than  the  subject,  and  about  one  foot  from  her  feet 
as  she  lay  at  full  length  on  her  side,  thus  giving  the 
effect  of  the  light  coming  from  below  when  the  picture 
is  held  in  a  perpendicular  position.  To  better  under- 
stand, hold  the  picture  in  horizontal  position;  this 
will  give  you  the  position  of  subject  when  picture 
was  made. 


"MARY  MARBI^e;."  For  description  seepage  15. 


FLASH  LIGHT  PORTRAITS.  15 


No.  6.  *'MARY  MARBLE." 

This  picture  shows  what  beautiful  definition  can  be 
produced  by  flash-light  in  white  draperies,  at  the  same 
time  preserving  perfect  gradation  in  the  flesh  tints.  In 
making  this,  as  well  as  all  other  heads,  the  flash  ma- 
chine was  placed  about  six  feet  from  subject,  the 
reflector  used  in  the  ordinary  way,  and  the  exposure 
was  six  grains  of  powder  in  each  of  the  thirty-six 
cups. 

For  illustration  see  page  14. 


No.  26.  WHAT  CARE  I  ?  " 

This  effect  was  secured  by  the  machine  being  placed 
over  top  of  background,  a  little  to  the  left  and  about 
five  feet  from  the  subject,  710  reflector  being  used. 

For  illustration  see  page  35. 


i6  FLASH  LICxHT  PORTRAITS. 


No.  7.  **KTHKIv  WINTHROP.'^ 

This  portrait  is  given  to  illustrate  what  can  be  done 
with  dark  and  heavy  drapery.  The  material  of  the 
waist  as  well  as  that  of  the  hat  was  the  darkest  of 
green  plush  velvet,  which  is  very  apparent  in  the 
portrait.  The  manipulation  was  the  same  as  in  No. 
6,  only  the  exposure  was  eight  grains  of  powder  in 
each  of  the  thirty-six  cups. 


FI.ASH  I.IGHT  PORTRAITS.  17 


No.  8.  '^THE  CHOIR." 

This  group  was  taken  at  9  p.  ni.,  the  lens  being 
stopped  down  to  one-half  inch  opening.  The  dis- 
tance of  the  front  of  camera  from  the  foremosi:  figure 
of  the  group  was  sixteen  feet.  The  flash  machine  was 
supported  at  the  top  of  a  ten-foot  step-ladder  and 
placed  about  ten  feet  forward  and  to  the  left  side  of 
the  group.  The  expOvSure  was  twenty-four  grains  of 
powder  to  each  of  the  thirty-six  cups  of  the  Williams' 
machine.  Cut  No.  105  was  taken  at  the  instant  of 
the  flash  and  shows  the  general  arrangement. 


i8  FLASH  UCxHT  PORTRAITS. 


No.  9.  ^'BY  MOONLIGHT  ALONE." 

The  flash  machine  in  taking  this  picture  was  placed 
directly  over  the  left  hand  corner  of  the  background 
and  about  eight  feet  from  the  subject ;  exposure,  six 
grains  of  powder  to  each  of  the  thirty-six  cups. 


FLASH  I.IGHT  PORTRAITS. 


No.  10.  "IN  HIS  LIBRARV." 

The  surroundings  in  this  picture  being  dark,  eight 
grains  of  powder  was  used  in  each  of  the  thirty-six 
cups,  and  the  machine  placed  five  feet  from  and  a 
little  back  of  subject. 


20  FI,ASH  LIGHT  PORTRAITS. 


No.  II.  *'MAUD  DURBIN." 

This  picture  was  produced  same  as  No.  lo,  but  five 
grains  of  powder  to  each  cup  being  used,  as  white 
drapery  requires  less  powder. 


FivASH  LIGHT  PORTRAITS. 


No.  12.  WHITBBCK." 

In  making  this  picture  the  machine  was  placed  as 
close  as  possible  to  the  subject  in  order  to  secure 
fuller  illumination  and  less  contrast,  six  grains  of 
powder  being  used  in  each  cup. 


22  FLASH  I.IGHT  PORTRAITS. 


No.  13.  ^'SNOWDEN  WARD." 

Occasionally  we  have  a  subject  that  closes  the  eyes 
at  the  very  instant  the  flash  is  made,  but  this  very, 
very  seldom  happens.  When  this  exposure  was  made 
Mr.  Ward  (who  is  familiar  with  all  photographic 
methods,  and  was  consequently  conscious  of  what 
was  going  to  happen),  closed  his  eyes.  To  a  great 
many  the  negative  would  have  been  worthless,  but 
with  the  skill  of  my  retoucher  I  produced  other  eyes 
for  the  subject  without  even  slightly  changing  his 
expression.    See  explanation  on  another  page. 


FI.ASH  LIGHT  PORTRAITS. 


■ 

■ 

^^^^ 

■% 

mm 

No.  14.  CHARITY." 

For  this  head  eight  grains  of  powder  were  used  in 
each  cup,  the  light  placed  well  back  and  a  little  far- 
ther from  subject,  which  gives  greater  contrast  and 
stronger  effect  of  direct  light. 


24  FivASH  IvIGHT  PORTRAITS. 


No.  15.  ROUNDING  THB  HORN." 

Taken  while  subject  leaned  forward  in  order  that 
the  hair  may  fall  forward  as  shown  in  picture,  the 
machine  being  on  the  left  side  and  slightly  raised 
above  the  subject.  The  ground,  boat,  and  subject 
were  all  leaning  at  an  angle  of  about  forty-five  to 
fifty  degrees. 


FLASH  LIGHT  PORTRAITS. 


No.  i6.  *'THK  REHKARSAIv.' 


To  produce  this  effect  the  flash  machine  was 
placed  a  little  higher  than  for  single  figures,  say- 
about  nine  or  ten  feet  from  subject,  and  an  exposure 
of  seven  grains  of  powder  to  each  of  the  thirty-six 
cups. 


26  FIvASH  LIGHT  PORTRAITS. 


No.  17.  AU  REVOIR." 

The  flash  was  placed  in  same  position  as  for  No. 
16.  This  picture  shows  the  advantage  of  the  flash 
light  in  securing  action  and  expression  in  your  large 
work.  Exposure,  six  grains  of  ''lyUxo"  flash  powder 
in  each  of  the  thirty-six  cups. 


FLASH  LIGHT  PORTRAITS. 


2/ 


No.  i8.  ^'BEATRICE  McKENZIE." 

It  is  only  upon  rare  occasions  that  I  use  a  screen 
between  the  subject  and  the  flash,  but  in  this  instance 
a  side  screen  was  used,  the  curtains  on  screen  being 
separated  just  enough  to  illuminate  the  subject  with 
direct  light  through  a  small  opening,  ten  grains  of 
powder  to  each  cup  being  used  on  account  of  the  dif- 
fusion caused  by  screen. 


28  FLASH  I^IGHT  PORTRAITS. 


No.  19.  ''FIRST  LOVE." 

In  this  picture  is  shown  that  natural  childish  ex- 
pression, caught  upon  each  of  the  subjects  at  the  same 
instant,  something  that  would  be  next  to  impossible 
without  the  aid  of  the  flash-light.  The  light  was 
used  same  as  usual. 


FLASH  I.IGHT  PORTRAITS.  29 


No.  20.  ''SWB^T  CHlIvDHOOD." 

We  can  also  include  in  this  reference,  Morning  Glory," 
**Ouch,  Don't,"  and  ''Good  Morning."  Any  photographer 
with  years  of  experience  knows  how  difficult  a  matter  it  would 
be  to  photograph  these  five  subjects  with  the  aid  of  daylight 
alone.  And  if  accomplished  at  all,  must  be  after  many  plates 
and  much  time  had  been  wasted.  Then  what  about  the  ex- 
pressions? These  four  pictures  were  each  made  in  the  usual 
way,  i.  e.:  with  the  lower  arm  of  the  light  about  six  feet  from 
the  floor,  and  the  Williams  machine  about  four  feet  directly 
to  one  side  of  the  subject ;  exposure,  six  grains  of  powder  in 
each  of  the  thirty-six  cups  ;  reflector,  as  you  would  for  day- 
light. 


30 


FLASH  LIGHT  PORTRAITS. 


No.  21. 


"A  MORNING  GIvORY.' 


FLASH  LIGHT  PORTRAITS. 


No.  22. 


GOOD  MORNING. 


32  FI.ASH  LIGHT  PORTRAITS. 


No.  23. 


*'OUCH!  DON'T 


FI,ASH  LIGHT  PORTRAITS. 


No.  24.  BABES  IN  THE  WOODS." 

This  picture  I  do  not  believe  could  be  made  with 
any  other  light  than  the  flash  and  obtain  good  results 
The  expression  of  child  was  not  assumed  for  the  occa- 
sion, but  was  perfectly  natural,  for  when  I  was  all 
ready  to  make  the  exposure,  my  assistant,  who  was 
on  the  floor  behind  the  child,  pricked  the  little  one 
with  a  needle,  consequently  the  expression  followed 
by  an  instantaneous  exposure.  Light  used  in  the 
usual  way. 


FLASH  IvIGHT  PORTRiVlTS. 


No.  25.  **THE  FLYKR." 

I  take  the  greatest  pleasure  in  producing  studies  of  Child 
Life^  and  in  this  particular  work  the  flash-light  is  of  the 
greatest  benefit,  allowing  as  it  does,  the  opportunity  to  catch 
an  expression  when  the  features  of  the  child  are  the  most 
pleasing,  and  when  the  figure  is  in  action.  *'The  Flyer" 
was  taken  against  a  6x8  foot  background,  four  feet  of  the 
lower  part  being  spread  over  boxes,  raised  as  shown  in  cut 
No.  103  on  another  page.  The  wagon  was  held  in  position  by 
wires  running  through  the  background  and  fastened  to  the 
floor  in  the  rear.  The  spokes  of  wheels  were  removed  by 
retouching  after  the  the  negative  had  been  developed  and 
dried,  thus  giving  it  the  appearance  of  being  in  rapid  motion. 
The  flash  was  raised  at  an  angle  of  about  forty-five  degrees 
and  placed  about  four  feet  from  and  directly  at  side  of  subject. 


No.  26. 


'WHAT  CARE  I?' 


For  description  see  page  15. 


36  FLASH  LIGHT  PORTRAITS. 


No.  27.  "IvAURA  MII.LARD." 

The  light  was  placed  more  to  the  front  of  subject  for 
this  picture  than  is  usual  in  most  of  my  work;  this  of 
course  gives  more  front  illumination  with  less  shad- 
ows and  less  boldness  or  relief. 


FLASH  LIGHT  PORTRAITS. 


37 


No.  28.  "MILKMAID." 

Cut  No.  loi,  on  another  page,  illustrates  how  this 
effect  was  produced,  the  lower  arm  of  flash  machine 
being  about  six  feet  from  floor. 


38 


FivASH  I,IGHT  PORTRAITS. 


No.  29.  ''THE  DANCING  LESSON." 

In  this  picture  the  left  foot  of  the  lady  was  resting 
upon  a  small  support,  which  was  removed  by  the 
retoucher.  The  flash  machine  was  placed  about  six 
feet  from  the  side  of  the  subjects  and  raised  to  the 
usual  height  (ten  feet)  for  group.  The  rest  under  the 
foot  can  be  a  thin  strip  of  wood,  metal  or  glass,  the 
latter  being  the  best. 


FLASH  LIGHT  PORTRAITS. 


39 


''TILLIE  CRAMER." 


No.  30. 


For  this  portrait  the  subject  was  leaning  against  the 
background,  the  light  being  about  five  feet  to  the 
left  and  three  feet  above  the  subject. 


40  FLASH  LIGHT  PORTRAITS. 


No.  31.  *'THE  FISHERMAN'S  PRIDE." 

In  this  picture  the  flash  was  placed  the  same  as  for 
any  of  the  plain  or  broad  lightings,  about  six  feet 
above  and  to  the  side  of  the  subject,  the  white  re- 
flector being  placed  about  eight  feet  from  the  opposite 
side.  The  ribbons,  scarf,  apron  and  dress  were  fast- 
ened to  wires  and  drawn  to  the  side,  thus  giving  the 
effect  of  a  breeze. 


FI.ASH  LIGHT  PORTRAITS.  41 


No.  32  ''NYMPH." 

This  subject  was  in  a  reclining  position  on  her 
back,  the  harp  being  suspended  by  wires  and  held 
in  position  by  subject.  The  machine  was  placed  over 
the  subject  and  above  right-hand  corner  of  back- 
ground, the  cloud  effect  in  corner  being  part  of  the 
flash. 


42  FI.ASH  LIGHT  PORTRAITS. 


No.  33.  ^'MASONIC  GROUP." 

Taken  at  11  p.  m.,  in  a  room  25x30.  Walls  were 
rather  light  in  color,  and  answered  the  purpose  of  a 
reflector.  The  flash  machine,  when  exposure  was 
made,  was  about  four  feet  forward  and  at  the  side  of 
group.  The  lower  arm  of  a  Williams  machine  was 
resting  on  the  top  of  an  eight-foot  ladder;  exposure 
twenty  grains  of  powder  in  each  of  the  thirty-six 
cups. 


FIvASH  I,IGHT  PORTRAITS. 


No.  34.  ''MY  BEST  FRIENDS." 

The  subjects  for  this  combination  are  Mr.  Billy 
Rundle  and  his  three  dogs,  Kaiser,  Fannie  and  Ponto. 
The  picture  was  made  in  the  usual  way,  the  light 
being  about  four  feet  directly  behind  Mr.  R.'s  back. 
The  rapidity  of  the  exposure  can  be  determined,  as 
it  can  easily  be  seen  that  the  dog  in  the  rear  (Ponto) 
has  his  tongue  hanging  out  and  is  panting  very  hard. 
Mr.  Ponto  is  only  a  pup  of  ten  months,  and  very 
restless.  This  group  would  be  impossible  to  photo- 
graph under  the  sky-light  without  the  aid  of  the 
flash. 


FLASH  I.IGHT  PORTRAITS. 


No  I02. 

This  cut  shows  position  of  light,  ground,  camera, 
reflector  and  subjects  of  the  picture  ^ 'Alone  at  I^ast," 
at  the  time  of  expOvSure. 


FLASH  IvIGHT  PORTRAITS. 


45 


No.  loi. 


This  cut  illustrates  the  general  arrangement  for 
the  picture  ''Milkmaid"  at  the  time  of  exposure. 


46  FLASH  UGHT  PORTRAITS. 


No.  103. 

This  cut  shows  position  of  the  flash  machine, 
ground,  etc.,  as  arranged  for  the  picture  ''The 
Flyer."  The  position  of  the  flash  light  in  the  cut  is 
correct  for  all  ordinary  lightings. 


FIvASH  LIGHT  PORTRAITS.  47 


No.  105. 

This  cut  shows  position  of  group  and  the  surround- 
ings of  the  picture  ^'The  Choir."  Made  at  9  p.  m., 
in  the  organ  loft  of  the  church. 


48  FLASH  I.IGHT  PORTRAITS. 


FLASH  LIGHT  PORTRAITS. 


49 


No.  loo-A. 


No.  TOO. 


FI,ASH  IvIGHT  PORTRAITS.  51 


ANSWERS  TO  ALL  QUESTIONS. 


PART  III. 

To  those  who  have  auy  doubts  as  to  their  ability  to 
place  the  machine  in  the  proper  position  to  secure 
the  effect  of  light  that  they  would  like,  I  would  sug- 
gest to  them  to  arrange  the  ground  and  subject  first, 
then  close  up  all  of  your  skylight,  leaving  only  an 
opening  where  you  naturally  would  if  you  were  work- 
ing for  certain  light  effects  with  daylight  alone.  After 
you  have  the  effect  of  light  that  you  want,  place  your 
flash  machine  in  exactly  the  position  and  place  oc- 
cupied by  the  opening  in  your  light,  only  bring  the 
machine  to  a  distance  from  five  to  ten  feet  from  sub- 
ject. Use  the  reflector  in  the  ordinary  way,  and  you 
will  readily  understand  how  to  produce  any  effect  of 
light  that  you  desire. 

Judgment  must  be  used  in  filling  the  cups  with 
powder  for  an  exposure.  All  depends  upon  the 
si/.e  of  stop,  size  and  speed  of  plate,  size  of  the  open- 
ing of  diaphragm,  and  the  distance  of  the  machine  from 
the  subject  or  size  of  the  room  to  be  illuminated. 
In  cases  of  such  groups  as  the  Choir,  picture  No.  8,  I 
have  given  the  number  of  grains  of  powder  that  was 
used,  and  the  details  of  each  photo  illustrated  in  this 
book,  and  how  each  was  made.  These  explanations 
can  serve  as  examples,  and  you  can  make  your  calcu- 
lations b)^  comparison. 


52  FLASH  I,IGHT  PORTRAITS. 


I  use  no  shield  or  hood  over  my  lens,  and  take  no 
precaution  to  keep  out  the  light  of  the  flash  lamp.  I 
do  not  argue  that  it  must  not  be  done,  but  I  get  along 
very  nicely  without  doing  so. 

LENS. 

The  make  and  kind  of  lens  that  all  of  my  flash- 
light work  has  been  made  with  is  a  No.  6  Somerville, 
rectilinear,  which  cost  (new)  $75.00. 

DIAPHRAGM— OPENING. 

Very  near  all  of  my  flash-light  work 
has  been  made  with  a  stop,  with  an 
opening  of  from  i  inch  to  Yz  inch  in 
size,  or  about  the  size  of  the  ac- 
companying circle. 

PLATES. 

Any  of  the  leading  brands  of  plates  would  perhaps 
answer,  but  I  prefer  the  Cramer  Crown  Plate,  which 
is  in  use  at  the  present  time  in  my  studio. 

DEVELOPER. 

While  there  may  be  many  good  developing  agen- 
cies in  use  at  the  present  time,  I  find  that  the  best 
results,  and  especially  the  best  printing  quality  in 
negatives,  are  obtained  with  pyrogallic  acid. 

FLASH  POWDER. 

The  flash  powder  that  has  given  me  the  best  satis- 
faction, and  the  brand  that  is  in  use  in  my  studio  at 
the  present  time  is  the  ''Luxo." 


FLASH  LIGHT  PORTRAITS. 


FLASH  MACHINE 

The  flash  machine  that  I  use,  and  one  I  considei 
the  very  best,  is  the  Williams  Flash  Lamp  of  36  cups. 
Trade  agents,  E.  A.  &  H.  T.  Anthony. 

THE  BULB* 

The  bulb  that  I  make  the  exposures  with  is  an 
ordinary  shutter  bulb,  and  is  attached  midway  be- 
tween the  hose  running  from  the  camera  to  the  flash 
machine,  thus  opening  the  shutter  of  lens  and  setting 
off  the  machine  at  the  same  instant  and  with  the  one 
pressure. 

NO.  OF  GRAINS  OF  POWDER. 

For  all  exposures  that  were  not  mentioned  in  giv- 
ing explanations  of  how  each  picture  in  this  book 
were  made,  6  grains  of  powder  were  used  in  each  of 
the  36  cups.  In  measuring  the  grains  of  powder  it  is 
best  to  be  provided  with  small  measuring  cups.  They 
are  made  in  different  sizes,  holding  6,  10  or  12  grains. 

POSITION  OF  LIGHT* 

In  all  of  the  cuts  or  instructions  that  I  have  ever 
seen  relating  to  the  position  of  the  flash  machine  for 
making  portraits  of  single  figures  or  groups,  according 
to  my  idea,  the  would-be-instructors  have  invariably 
made  the  same  mistake,  that  of  telling  the  beginner 


54  FLASH  I.IGHT  PORTRAITS. 


to  place  the  flash  machine  on  top  of  or  behind  the 
camera.  If  such  instructions  were  followed,  the  only 
possible  results  would  be  all  front  light,  and  conse- 
quently the  flattest  of  flat  pictures  with  staring  eyes. 
Then  deep  shadows  are  produced  by  placing  the  light 
too  far  behind  the  subject,  giving  a  lack  of  illumina- 
tion in  front.  Placing  the  light  too  far  away  from  the 
side  of  the  subject  only  necessitates  the  use  of  more 
powder.  To  be  successful  simply  use  a  little  judg- 
ment, and  apply  the  flash  machine  just  the  same  as 
you  would  daylight,  in  every  instance,  and  remember 
if  you  don't  know  how  to  control  daylight  you  need 
never  expect  to  be  successful  with  any  other  kind  of 
light  until  you  can  successfully  read  the  gradations 
and  directions  of  same. 

REFLECTORS* 

An  ordinary  white  reflector,  used  the  same  as  you 
would  for  daylight,  is  all  that  is  necessary. 

TO  RAISE  AND  LOWER  THE  LIGHT. 

My  Williams  flash  lamp  is  attached  to  an  ordinary 
back-ground  carrier,  at  an  angle  of  about  45  degrees 
and  is  raised  and  lowered  at  will.  Any  other 
contrivance  that  is  convenient  will  answer  the  same 
purpose. 

MEDALS* 

Many  of  the  pictures  in  this  work  have  received 
gold  medals  at  the  various  conventions  held  in  differ- 
ent parts  of  the  United  States  recently — always  com- 
peting against  work  made  by  the  aid  of  daylight. 


FLASH  I,IGHT  PORTRAITS. 


55 


HOW  TO  PRESS  THE  BULB^ 

The  bulb,  as  has  been  described,  is  placed  midway 
between  the  flash  machine  and  the  camera.  When 
all  is  ready  for  the  exposure,  press  the  bulb  quick  and 
hard,  thus  opening  the  shutter  and  springing  the 
machine  at  the  same  instant.  Just  the  moment  that 
the  powder  flashes  let  go  of  the  bulb.  - 

DEVELOPING, 

Experience  has  taught  me  that  in  developing  large 
negatives  made  by  flashlight,  to  use  nothing  but  a 
nominal  developer,  only  add  about  one-third  more 
water  and  develop  slow.  No  matter  how  correct  the 
exposure  has  been,  when  the  image  first  starts  to 
come  up  it  has  the  appearance  of  being  under-timed. 
So  be  careful  and  not  rush  or  push  the  development 
at  the  start.  Again,  I  always  carry  the  development 
just  a  little  further  for  flashlight  work  than  for  work 
made  by  daylight,  as  it  seems  to  fix  out  a  little  more. 
But  in  development,  good  judgment  alone  will  guide 
you  to  the  best  results. 

TURN  THE  PHOTOS  SIDEWAYS- 

Any  of  the  pictures  that  I  have  described  as  being 
made  with  the  grounds  and  subjects  resting  on  their 
side,  can  be  much  more  easily  understood  if  you  will 
turn  the  cuts  in  a  horizontal  position.  This  will  give 
you  the  correct  position  of  all  surroundings  when 
negative  was  made.  For  such  exposures,  of  course, 
the  plate  was  also  placed  in  the  holder  in  a  horizontal 
position. 


56  FLASH  LIGHT  PORTRAITS. 


WHAT  A  RE-TOUCHER  CAN  DO. 

The  two  cuts  numbered  loo  and  looA  are  from  toned 
proofs  made  from  the  negative  of  Mr.  Snowden  Ward, 
described  and  illustrated  upon  another  page.  Cut 
numbered  loo  was  made  from  the  proof  taken  from 
the  negative  so  as  to  show  how  the  eyes  of  the  subject 
were  caught  when  the  exposure  was  made.  The 
negative  was  then  taken  and  the  film  was  cut  out  of 
the  eyes  by  the  use  of  alcohol  and  a  small  hard  swab. 
Then  proof  was  made  which  cut  No.  looA  represents, 
showing  condition  of  negative  after  the  film  had  been 
reduced  sufficiently.  Following  this  operation  an  8  x 
lo  negative  of  just  the  head  of  another  subject  was 
made,  precaution  being  taken  to  have  the  eyes  the 
same  size  as  those  in  the  negative  of  Mr.  Ward  ;  then 
the  film  of  the  eyes  of  this  8xio  negative  were  circled 
with  a  pen  knife  ;  then  stripped  from  the  plate  by  the 
aid  of  strong  alkali ;  they  (the  eyes)  were  then  fitted 
in  the  place  on  the  large  negative  from  where  Mr. 
Ward's  eyes  had  been  removed.  After  they  had  dried 
the  blending  was  done  by  the  re-toucher,  with  etching 
knife,  pencil  and  brush.  After  the  left  eye  had  been 
nicely  and  perfectly  blended  in,  the  large  print  repre- 
senting cut  No.  13  was  made — the  right  eye  being 
left  unfinished  in  order  to  illustrate  just  how  much  of 
the  film  of  the  eye  was  put  on — and  etched  out.  Work 
of  this  kind  need  never  be  done,  but  has  been  de- 
scribed and  illustrated  in  order  to  prove  true  what 
some  would  think  impossible. 


FI.ASH  LIGHT  PORTRAITS. 


THE  PICTURE. 

All  illustrations  in  this  work  are  made  from  copy- 
righted 18x22  photographs,  and  can  be  had  by  ad- 
dressing F.  W.  Guerin,  506  Olive  street,  St.  lyouis, 
Mo.  Unmounted  post  paid,  or  mounted  on  white 
card  board  sent  by  express  at  the  expense  of  the  pur- 
chaser, for  $1 .00  each. 


. .  Cbicago 


...  Ube  ... 

Ibetberington 

Scenic  StU^^O  ^344  TOaebtn^ton  Bvenue 


Ji3ac??9rounD6  anD  Bcccseonea  for 

yy,,,^^  IPboto^rapbere'  TUse 


Omc8  Change 


Ttierefore,  v^]:\er[  Pl\otograpJriers  ^tJere  looKirig 
for  soir\etl:\ir\g  r\e^  ar\d  better,  tlye 

Somemlle  Symmetrical  Xens, 

all  sizes,  \^as  ir[troduced.  Tl^ese  Leases  are 
iq  daily  use  by  n\ariy  of  our  best  p]r[Otograpl:\ers, 
ar|d  ttieir  repeated  prize-v^ir\r\ir\gs  attest  to  tl\e 
quality  of  ttierq.  We  are  tl^e  sole  ager\ts  for  tJ:\is 
Ler[s,  as  \s^e]l  as  sucl)  \^ell-Kilowr\  specialties, 
r\oW  ir)  cor\staqt  use,  as 

%c\gb*s  Combination  printing  jpvamc, 
California  Butomatic  Ipvint  TlClasber, 

IfDl^att's  Stamp  portrait  anb  Bpparatus, 
Ube  1Rew  /IDagic  IDignctter, 
At  all  times        iRubn's  IPignctting  Bttacbment, 
we  carry  the  -^jj^  -j^^^^^  Hcgative  IDiqnetter, 

llnls  o?citSas.  iP^cJ^s  iPncumatic  iRetoucbcr, 

Lenses  and  IRlVal  XenSCS, 

Equipment.  /lDoun^  Cii^  XenscB,  etc* 

Fresh  Papers,  Plates, 

Chemicals  Card  Stock,  j^j^^  5^  pleased  to  fumish  estimates 

Complete  PHnthiff  and  Outfit s ,  etc,  and  all  eommunica- 

Embossing  Department.  tious  wUl  receive  prompt  attention. 

lb.  H.  Ib^att, 

pboto  Supplies,     tj^''"^  «•  ffiroaMva?. 

St.  XO1U0,  ^0. 


THE. 


AMERICAN 

ARISTOTYPE 

COMPANY, 


IS  THE  PIONEER  MANUFACT- 
URER OF  READY  PREPARED 
GLOSS  AND  MATT  PRINTING- 
OUT  PAPERS. 
...THEIR  REPUTATION  FOR  PER- 
MANENCY IS  UNQUESTION- 
ABLE AND  UNAPPROACHED. 


1*1 

3^ 


Does  Mr.  F.  W.  Guerin 

(of  St.  lyouis) 
Recommend  and  Use 

LUXO 
rLflsn-FowbtR? 


BECAUSE  IT  IS  THE 


It  gives  77iore  light  and  less  s^noke  than  any  other 
compound  in  the  market.    Always  reliable. 


For  sale  by  all  reputable  Photo- Stock  Dealers  in 
the  United  States  and  Canada. 
Write  for  circulars. 

w.  P.  buchaHah, 

SOLiE  AGEflT, 

PHliiflDEiiPHlfl. 


WHY 


Art  Effects 

ARE  ONLY  POSSIBLE 
BY  THE  USE  OF  

WILLIS  <e  CLEMENTS' 

PLA  mo  TYPE  PAPER 

SEND  FOR  fLLUSTRATED  PAMPHLET,  TO 

1624  Chestnut  Street, 

PHILADELPHIA. 


f\.  M.  Collins  ManutaGtoring  Go. 

No.  527  ftrch  St.,  PhlladelDhia. 

....  Makers  of  all  kinds  of  .... 

CARDS  CARD  BOARDS 

Required  for  Mounting  Photographs. 

In  these  standard  goods  will  be  found  an  aSvSort- 
ment  of  colors  of  Cards  and  styles  of  Imprints  that 
have  been  designed  and  selected  to  meet  the  ever 
enlarging  demand  for  the  most  attractive  and  reliable 
cards  at  moderate  prices. 

For  Sale  bu  all  Dealers  in  Photo  Supplies. 


Sample  package  with 
developer  and  directions 
on  receipt  of  25  cents. 


